It’s been literally AGES since we’ve done a giveaway, so we thought it was about time we caught up with ourselves and give you the opportunity to win a pedal, for doing very little at all.

It’s all contained within the video that Brian posted yesterday… In the video, he’s dissecting the classic track from Alice In Chains – Them Bones. As you may remember from my blog post a couple of weeks ago about breaking down Bohemian Rhapsody, listening to the raw tracks is most definitely our thing at the moment, I mean… I’ve even been listening to songs by Rick Astley in stem form – it’s like an addiction that is almost impossible to break once you get into it! 

This track is enormous… well, the guitars are anyway... Brian takes them apart track by track to give you an idea of how HUUUGE the tones are. 

We got a great insight from Wampler Artist Andy Wood about the recording process, how he hears it… “Judging by the tones there definitely seems to be multiple mics on each track, that’s where the real magic is happening. It sounds like maybe even a pair of stereo room mics are involved that creating that 3D effect. once you go left and right with that it ends up HUGE. None of what I.m saying is based on anything other than what I’m hearing and my own experience in the studio.”

What I love about this song is that the guitar groove that dominates the song gives a times signature of 7/8 with the chorus reverting to a straight 4/4 groove (this, of course, is open to interpretation but that's how I hear it)… certainly makes it stick out from the rest of the field! 

Guitarist Jerry Cantrell said in an interview with Guitar World in 1998 when asked about the time signature – “I really don't know where that comes from; it just comes naturally to me. I could sit down and figure it out, but what's the use? Off-time stuff is just more exciting — it takes people by surprise when you shift gears like that before they even know what the hell hit 'em. It's also effective when you slow something down and then slam 'em into the dash. A lot of Alice stuff is written that way — 'Them Bones' is a great off-time song.

Drummer Sean Kinney said about it in an interview with Rhythm Magazine in 2016 -

"I remember that one p**sing me off because it was a pretty straightforward sort of metal-edged tune. I remember working on it but not wanting it to be straightforward. I had to figure out what kind of groove to put on it. The grooves were disjointed, timing-wise. I remember getting pretty frustrated, knocking over the drums and wondering what I could do there. It took a little time to figure it out and make it more unique than it could have been. I had to wrap my head around it and once it clicks you think, 'Ah, I'm gonna try it this way.'"

Anyway, enough of me geeking out about cool time signatures (I really hope he doesn’t dissect anything by Dream Theatre or Rush anytime soon), here is the video that gives details about the giveaway…

 

For reference, here is the original track from the official Alice In Chains YouTube channel.

Good luck people!

 

 

 

 

 

Quite often you will see a conversation on the internet - usually started by a meme - that ends up with a few people arguing that playing isn't all about the gear, it's about the player. But what happens when the gear transforms the player? Here is a short piece sent to us regarding this by a moderator of our tone group on Facebook, Andrew Gordon. 

"Can a new guitar pedal really make you a better player?
If you had asked me this question two months ago I would have "No! Don’t be ridiculous!" But since finding a couple of key pedals that really work for me I appear to have levelled up in my playing. Now, is it the pedal that is making me play better or is it that I am playing more and understanding more and really starting to find myself as a player?

I think the answer is, in fact, both, but it may not have happened without that pedal.

Let me put some context to this, I play the guitar as a hobby and buying and selling gear has also been my hobby for several years. Of late I’ve finally got an interest in theory and becoming a better player than I currently am. I’ve been watching more theory videos on youtube than gear videos and really trying to implement what I am learning. I have hit a point where I feel I have a much better understanding of some of the theory and where and how I can actually use it. It appears that you really do get out what you put in and you would think at my age that this would be a no-brainer, but if I am being honest I let the gear chase get in the way of actually playing and getting better. I’ve not only seen this in myself but I have seen it some of my other “tone chaser” friends and even some in real life too! It’s easy to lose sight of what’s really important, playing. 

It’s been quite a few years since I have been in a band and I am starting to feel now that it is really time to get something together not only to have fun and jam, but to keep getting better as a player and to also make my gear relevant apart from my love of it.

But how did a pedal bring on this realistic revelation?

It started with one video on youtube about one pedal and I watched it over and over and over again to point where I pinpointed the exact sound that I had been hearing in my head for the last five years or so, but I had finally heard it in gear. I have chased many different tones over the years but this one had always been what I thought was my “core” tone. A while back I found out that I am a better player on Telecaster, I don’t know exactly why or how this happened as I always thought I was a strat player and that was it. But again I was wrong. For some reason, I am more melodic, more honest and expressive player with better tone on a Tele. I ordered the pedal at my local store and waited for its release. Once I got it and plugged it in and dialled it in over a couple of days something had changed. I was playing better! I was sounding better too!

Now we all love chasing tone, I know I do but sometimes the chase is not as good as the results you can achieve. The truth is you need to chase gear to find out what makes you, you, and how you can get to the point where you are sounding and feeling your best. It can take some time to find the right gear, but you also need to put the time in getting to know how the gear works for you properly rather than just playing it for a weekend and then flipping it straight away. It’s kind of like finding your life partner, it takes time and effort and you do get what you put in. Happy chasing and finding the tone zone."

 

I've read this a few times and finding myself agreeing with it more the more I re-read it. The reason I relate to it personally so much is because the latest interpretation of my tone, from my gig board, has complete revitalised my playing. I use three gain stages on my board, the Tumnus and the Paisley Deluxe. I was previously using the Dual Fusion instead of the PaisleyDog, but needed some more 'grunt' so swapped it out when the PaisleyDog was released. What I found is that because the UnderDog side is more gainy, more aggressive, I was starting to dig into my guitar more and finding more inspiration when improvising with the band. Not only did this make me sound more convincing in being me, I was also setting up my rig at home to just play it more. When I do this, I found that because I relating to my tone that much more I was wanting to learn more about what I was playing... Now, I'm no slouch when it comes to music theory, but then again, Tom Quayle is one of my favourite friends so I am painfully aware that I actually know very little. The more I played, the more I was analyzing what I was playing and then looking up teaching sites to work out what I was doing... this then pushed me into new areas which pushed me into more and the cycle of learning is now at it's most prominent it's ever been. The more I enjoy my tone, the more I play. The more I play, the more I wonder how I can make myself sound more interesting. The more I make myself sound more interesting, the more I want to make myself sound even more interesting. So, as far as Andrew and I are concerned, that by way of inspiration to play, gear can and does make you a better player. 


 

The time has come where I’m burnt out on gear, and my chase for tone has come full circle. In 2011 I was probably the happiest with my playing that I had ever been. My tone was great, my rig was stable, and I was focused on playing more than anything. My skillset was at an all-time high, which for me, was being able to cover a few Brad Paisley songs note for note along with the recording. Admittedly they were some of the easier songs, but I had set my own bar of expectation relatively low as I have minimal self-esteem, and surpassing and completing that gave me the most pride in the world. I was actively playing regularly, with friends in a band as well as at church. I was using the same guitars for several years and GAS didn’t really exist aside from unobtainable guitars and amps that were completely out of reach. I had a PRS Custom 22 that I had worked for and saved up several summers worth of money to get, and my Crook tele that was a graduation present from my parents for graduating college. I had those two, an acoustic and that was it. I knew everything both instruments were capable of, and there wasn’t a need for anything else. I had a small board with a handful of pedals on it, and a Hot Rod Deluxe that served me perfectly. 
 
I started out my addiction to trying pedals in 2012 to have something for “me”. At the time, we had just had our first child and life had flipped upside down. Free time was a thing of the past, and I’ll be the first to admit that it took several months to adapt. It was one of the most joy-filled times of my life, but also some of the hardest as I had to come to grips with being a Dad, getting very little sleep (he woke up every two hours until he was 2 years old). I felt like there was nothing left of me, just a bit of a warm body. So, at the time I tuned to TheGearPage.net and lost a bit of my soul in the emporium as I proceeded to flip pedals for the next two years. I won’t admit how many came and went, but I will say it was enough that I’m ashamed of it. The flip side was that I learned A LOT about tone, and that ended up leading me to a job in the industry, but at what cost? That was the slow descent into GAS-fueled craziness that went on up until a few months ago.
 
Gear became a distraction for me. It was (and still is) so easy to jump on Reverb or Facebook and browse around and think about the possibilities and ideas that *could* potentially come from owning such gear. There were times that I didn’t touch a guitar for weeks, just because of work or family obligations. I’ve always tried to make family first, but I’ll admit that the quick “escape” to looking at gear was far too easy to do, just like looking at any form of Social Media. I didn’t have time to practice, and chalked it up to “I wouldn’t remember what I practiced anyway, so what’s the point?” It became the same old tireless riffs, noodling and lead lines I’ve played hundreds of times in the past few years. I remembered bits and pieces of the songs I knew before, but for the most part my mind was blank from mindlessly noodling. 
 
As the gear kept coming in and out of the house, I started noticing that the excitement of getting the new gear was dwindling. The Silver Sky was a prime example. I was SO excited to get it; the excitement of the chase was exhilarating. Finally got it, had it for a few weeks, and ended up selling it. My mistake was viewing it as a collectible instead of a tool to make music, and I didn’t want to get comfortable with it and risk messing it up. So, my wife wanted a new deck on the back of the house, and I sold it to fund that. Two weeks later (after I realized the deck wouldn’t cost as much as I thought it would), I had a yearning for the Silver Sky again. My thought process was that I hadn’t given it enough time to properly get comfortable with it and make it work for my style of playing. I was very fortunate that the person I sold it to was willing to let me buy it back and lived locally and is a great friend, so I got it back. I immediately made the tweaks that I felt made it more playable and comfortable…and it did…for a while. After playing it for a few weeks, I decided that I’d sell my American Pro strat and just consolidate my gear down. If it wasn’t being used, then it’s time for it to go. I decided to plug the strat in one last time before boxing it up to sell and realized that I was honestly was more comfortable with the strat than the Silver Sky. I decided to wait, and compared them head to head again after my few adjustments on the SS. In the end, it came down to comfort and sound. The strat just had that more classic sound that my ears wanted to hear, which is the exact reason I wanted to own one in the first place (after a decade of not owning one).
 
It definitely dawned on me a few months ago when someone said “Alex plays guitar. Play something!” I locked up tighter than you can imagine because it’s been WAY too long since I’ve played in front of a group of people that aren’t my family. All of the things I could have easily pulled out of my mind in 2011 were nearly gone, and I found myself cutting pedals on, switching guitars, and overall just making a fool of myself (despite the compliments) because I haven’t played that much in the past few months. The thing was that I didn’t feel comfortable on any of the stuff I was using because I had a revolving door on gear, more interested to see what sounds they could make out of sheer boredom or curiosity than putting them into context in a song or how they would fit my playing needs. My distraction became my addiction, which has led to my passion for it dwindling significantly. Gear-buying and flipping have become a quick outlet to solve boredom and other typical life stuff, a quick thrill that is way too easy and generally has left me feeling lackluster in most respects. 
 
Working at Wampler has really opened my eyes to the market, and what people like and don’t like, and what other companies strive for, excel at, and fall short on (including us). Jason put it best (and this has stuck with me since he said it) that “If you have to use a gimmick to sell it, it’s usually because it can’t stand on its own without it.” And in many cases, that’s completely true. Just because something has fancy bells and whistles doesn’t mean it’s practical or sounds that great. Learning a wealth of knowledge from Brian and Jason has opened my eyes to think more critically of what I’m thinking about buying, and for the most part, my addiction has slowly started to dwindle. Some of the pedals I would have bought immediately, I take a step back and question whether I’d actually use them, or if I’m just curious to try them? 9/10 times it’s because I’m just bored and curious, and now even the curiosity has gone somewhat. The good part is that my board has had minimal changes, my guitars and amps are more solid than ever with very little moving gear, and my comfort is growing back. Brian sent a prototype to me about a month ago, and that has truly inspired me more than anything lately. Not to noodle, but to get whatever I can get out of it (and the rest of my gear) without thinking “Well it would be cool to be able to make this sound now and then.” The reality of it is that if it’s not fun anymore, what’s the point? Admittedly over the past couple of years, fun HAS meant just trying pedals. But at the end, I felt like despite all of the stuff I’ve used, it didn’t add much value to me as a player. Yes, I know what each one of them is capable of, but aside from talking on gear forums, what good is it really going to do me?
 
I know this has drawn on and has a lot of information you’ve seen before, but for me, I think this is a step in the right direction to admitting I have a problem, and I’m trying to take steps in making my own life a bit better. I’ve been on a mass exodus with gear, anything that’s not being frequently used is pretty much being sold. It feels pretty good to get the space back, not having the money essentially just sitting on the shelf not being used doesn’t hurt either. Since I’ve started decluttering and dropping the excess, my playing has started improving again, my desire to mindlessly search YouTube for demos and Reverb for killer deals have decreased too. GAS still exists, but it’s not frantic like it has been over the past few years. My point with this whole blog is basically to say do what makes you happy but also think critically about what you’re doing and what you hope to be able to achieve in the future and adjust your trajectory accordingly.
 
I’ll leave you with a quote from Jack Canfield that seems appropriate (at least to my situation): “As you begin to take action toward the fulfillment of your goals and dreams, you must realize that not every action will be perfect. Not every action will produce the desired result. Not every action will work. Making mistakes, getting it almost right, and experimenting to see what happens are all part of the process of eventually getting it right.”
 
 

When you are lurking on as many gear forums that I am (it’s no wonder my sanity is often questioned) you start to notice patterns forming, you see the same questions come up, and quite often you get to see some great answers and also some terrible ones. I was explaining to Mrs Wilding a couple of weeks ago that at times it feels like I’m in a room with about 100,000 other people and I can hear all the conversations in the room at the same time… Sometimes, the conversations just pass you by but others stick out, especially when you hear the same conversation happening over and over again.

One of those topics that comes up time and time again is “boosts” – the different kinds and where to place them, even which one… so I’m going to write an answer at my level, which is idiot level, to try to explain it all. This may contain information you already know, but hopefully, it will contain some information that you haven’t consolidated yourself yet so there may be something useful in here for you!

When you boil it all down, there are (in my opinion), 3 kinds of boosts that guitarists favour. A clean boost, a treble boost and what’s often classed as a dirty boost, this could be called a coloured boost, or a tone shaping boost or a multitude of other names. The main consideration when deciding which is for you is what you fundamentally want it to do, and where you plan to put it in your chain. My own live rig runs two boosts, one pretty well up the front and one right at the back. Unsurprisingly, they are both Wampler – the Tumnus Mini sits at the front (after the compression and pre-gain modulations) before the main gain stages and the dB+ is right at the back (well, it sits before the reverb pedal but that is an always-on pedal so it doesn’t count!) and acts as a literal volume boost.

The thing that kinda makes me smile is when someone asks online “Recommend me a clean booster” and the thread instantly fills up with shouts of “EP Booster”, “Tumnus”, “TS” and the like and more often than not no one will stop to ascertain what they need, it may be that they need a dirtier boost or not. I would say that 99% of the time the dirtier version will be better, but you know….

Clean boost.
The clean boost does just that. It boosts the output of the signal coming in before it goes out. A lot of them are sold on the basis of a HUGE amount of boost, and for me, that kind of goes against the intention of them. Putting a clean boost in front of your gain stages will just increase the signal going in causing them to clip quicker, so you kind of get more of the same – where’s the fun in that? So, in my opinion, clean boosts are much better situated at the very back of your chain to ensure that when you go in for a solo, everyone can hear you over the rest of the band. Of course, this is not a hard and fast rule, a lot of people love their clean boost in front (especially if you are driving amp gain) because, well… they love their tone. So, happy days. But, once you start enjoying the beauties of a dirty boost it’s hard to ever go back to clean for pre-gain. In a nutshell, the classic clean boost will not add any clipping and it will NOT change the EQ of the signal, as EQ and clipping are so closely connected when you think about pedal dirt, it’s hard to separate them fully.

Treble Boost.
Kind of self-explanatory… takes the higher ranges of the tone and boosts it, this will in turn cause whatever sits behind it to clip into overdrive much quicker based on the frequencies that are hitting it.

‘Dirty’ Boost.
Now, this is where the real fun starts, well it does for me anyway. Thinking about it, I actually use 2 dirty boosts in my rig as I run the c2 side of the Paisley Drive Deluxe into c1 and only tend to use it for high gain stuff… So, why do I do this? Well, it’s all about the options it gives me with tone shaping, and how it makes my guitar feel under my hands. The amps I play with are set at totally clean at all times, so when it’s just the Tumnus that is on it kind of gives it a little nudge, adds very little gain (clipping) and the volume is set to unity. So, it’s not really pushing the amp in any direction, it just throws a gentle EQ curve across everything while giving it a little bite. It’s barely noticeable on the clean sound, but when it’s put on when the PaisleyDog is engaged, it fills it out SO much I can’t really describe it. Everything is warmer, fatter and it really pushes it forward. Not in a way that it makes my guitar sound louder, just fuller. When I then kick in Paisley Drive side (which is effectively set at full TS mode) the combined boosting of the TS frequencies and the K style frequencies produce a wall of sound that is huge. As I use a programmable looper in my rig, I have the following combinations available to me…

1) Clean, 2) Tumnus, 3) Paisley Dog, 4) Tumnus -> Paisley Dog, 5) Paisley Drive -> Paisley Dog 6) Tumnus -> Paisley Drive -> Paisley Dog.


Main Dirve section on the right (c1) with the TS boost on the left (c2)


My hidden boosts. dB+ for final solo boost and Tumnus Mini for pre, pre boost.

Now, the Paisley Drive is set somewhat different than the Tumnus, it’s set just above unity volume with a little more gain applied so when it hits the Paisley Dog side, there is an increase of overall gain as well.

With this in mind, how does all this work technically? The best way to think about dirty boosts is that it’s not about adding clipping to the chain, well, it is, but it’s more about the EQ shapes that they provide into your core signal. EQ is everything! As the Tumnus is a K style and the Paisley Drive is TS style (in one of the modes, and that’s the mode I use it in), I’m adding a largish amount of EQ to my tone when they are kicked in. The TS brings in a hump that centred at around 723hz and the Tumnus centred around 1k (these can and will change when you use the tone controls so that’s not gospel), the change in the character and depth of the main overdriven tone is quite remarkable. It does bring in a little clipping (gain), but you know, what it mostly brings is a jump in response from the EQ stacks, so I can easily control the feedback point and sustains for ever. When people look at the settings on my pedals they are quite surprised how low the gain is set on each, because when they are stacked, the inherent EQ shapes are bringing the gain that’s already there front and centre, with a much more 3D depth... that’s not how it works, but that’s how it feels. 

If you are thinking about a booster pedal, think about what you really need it to do and where you should place it in your chain. Are you after a literal boost for your solos or are you looking for something that changes your tone into something else. The vast majority of people want the latter I think, so the choice then is which voicing you want to bring in – most people instantly think about a TS or a K, but then again there treble boosters (that explode those higher frequencies that bring the character of the subsequent drives/gain stages to a whole new place), or pedals like EP booster that bring another element of width and fullness of its own character, I’ve seen a lot of boards that have an EP at the start and at the back, purely because the warmth it brings also sounds great as an end of chain boost as well.

As I’ve now been using the double boost pre-gain for quite some time now, I’m pretty certain I won’t change as it works so well, but, the older I get the more I start to think of downsizing, so who knows? Maybe we need to do a triple pedal that utilizes both kinds in a single box with one killer core gain stage at the end (I wish I was famous, I would totally have that as my signature pedal). With all this in mind… what is a clean boost in your mind – it is about clipping? Is it about volume? Should EQ play a part in this?

 

We’re all in this together, so when I address some of the scenarios in this blog, try keeping a tally as to how many you can identify with and share similar concepts or stories of your chase for tone in the comments.
 
The “perfect” tone is something I’ve chased my entire guitar-playing life. Early on when I first picked up the instrument, it was a combination of what I could afford (more like what I could beg my parents for and attempt to work off to “pay them” in labor to get) and try to emulate my heroes. I started playing guitar because of my love of Eric Clapton’s clean tone on the “Riding with the King” album he did with B.B. King, along with the tone I heard on the song “Wake Up” from the Matrix soundtrack (Tom Morello of Rage Against the Machine). I loved the way they made their guitar seem as if it was conveying emotion, so much so I could almost feel those notes in my heart every time I listened. So, I convinced my parents to let me enroll in a guitar class my freshman year in high school, and they bought me an Ovation Applause acoustic-electric they found at a local shop for maybe two hundred bucks. It wasn’t glorious, but man did I cut my teeth (and my fingers) on it. It wasn’t about tone at that point; it was just learning and “writing songs” (3 barre chords and melodramatic teenage angst lyrics for days). Being that I loved Eric Clapton, my dream guitar at the time was a Strat. Mom and Dad found a Wine Red 2000 MIM Strat at the shop I was taking lessons at, and I drooled over it every single time we would walk in the shop. I was very fortunate to wake up Christmas morning and see that wine red strat and a small 10-watt Fender amp (can’t even remember what model). All I know is it was solid state and at the time had the dreamiest reverb I had ever heard. It was my “perfect” tone at 15.
 
Fast-forward about two years, and I’m in my first band. We were an alt-rock/pop-punk band that was aiming for an Incubus meets Sum 41 amalgamation. My music choices changed due to the environment I was in and the people I was surrounded with, so I migrated from wanting a classic strat clean tone to more dirt. It started off with a friend selling his Fender Stage 160 (because we wanted to be LOUD), and the start of my pedal addiction. I was working after school and all summer, so I saved up to buy a Danelectro Fabtone…. yea. I proceeded to crank the gain and wail. Little did I know that it sounded like a wall of angry bees swarming wherever we played (are the Fabtone and the Metal Zone distant cousins?). As I said before, Incubus and Mike Einziger were my new tone obsessions, so I stupidly sold off my MIM strat to fund an off-brand PRS copy that was at that local music store I mentioned. It was a fight to play, and it was more about looks than functionality and tone. I finally wised up a few months later, worked my tail off and sold off all of my excess gear and bought an American HSS strat  (sienna sunburst, maple board), and took my graduation money and working the summer after and got a Marshall AVT150. At the time, THAT was my perfect tone for what I was looking aiming to achieve. (Can you see a recurring theme here?)
 
In college, I was in another band that was into much heavier music, and once again my music tastes changed. All of my guitar heroes at the time were playing PRS’s, and the shop that was close to my apartment had a used Custom 22 with bird inlays in ruby red that I fell in love with. Admittedly I stretched myself way too thin and put it on layaway, sold the American Strat to a friend (who ended up putting stickers all over it and destroyed it), and got my PRS. The PRS and my AVT150 were my main setup for a few years, again...perfect tone at the time. My wife and I started dating “officially” when I was in college (though we dated in high school too, I was just too stupid to realize how amazing she was and broke it off to go move to the big city, etc.). She's always been into country music, which I loathed for some unknown reason. I grew up on listening to country music, but at the time it wasn’t in my wheelhouse, and I couldn’t stand it. Over the course of our dating my disdain for country music slowly melted away, and eventually, my mom told me about Brad Paisley, who was just about to release his Time Well Wasted album. That started me down another path…
 
Fast-forward to about a year later, and I’m borrowing my Dad’s Tele and Hot Rod Deluxe, and grabbed a Paisley Drive and that was the PERFECT TONE! I got heavily into Brad Paisley and discovered Brent Mason again now that I was older and able to appreciate his style, and all of the sudden the PRS and Marshall weren’t cutting it anymore. My graduation present (which has always been a major deal for our family) was a Crook Custom Telecaster. My dad was playing at the time as well, so we both ordered one (this is 2006, prices were a bit more lenient then). We took a road trip up to meet Bill and pick up our guitars, and to this day was one of my greatest memories getting to spend that time with him. I was working full time and traded in my Hot Rod Deluxe and PRS, and grabbed a Dr. Z RX Jr. It was a great clean platform, and it fit the bill NEARLY perfectly. I wanted the Brad Paisley tone, but with a personal touch. This was when I dove head first heavily into pedals, realizing they were a quick way of changing your overall sound at a relatively inexpensive price compared to an amp or guitar. I’ve gone through a few hundred pedals since then, slowly acquired some great amps, and still fervently chase the tone as much as I possibly can. In the end though, I still just sound like me now, and I accept that.
 
So, what is the whole point of this recurrent theme of finding the perfect tone? Essentially, finding the “perfect” tone is an evolutionary process, and it grows easier to understand as you gain more experience. In the beginning, you aim for what your heroes have, and what you can afford. As you gain knowledge of the instrument and tone, you realize that your tastes evolve as you do, and it molds into finding your sound, drawing from all the past experiences and creating a style that’s unique to you. We’ve all said the famous saying of “my board is done.” No, it isn’t, but it’s nice to think for a brief moment in time that satisfaction is obtained. Again, this might not apply to everyone, but I know quite a few that are right there with me. The chase for tone is a never-ending one because what’s perfect now might not be right for where you are later down the road. Embrace it and enjoy the chase!